Kultur19 February 2017 12:00Elvis Costello writes on songbook each day

Eclectic? The word was created for Elvis Costello. Since 2013, he has worked with The Roots, set to music texts from Bob Dylan's dresser drawer and published his memoirs. Though lately he has mostly written in a musical. Some of the songs he plays in Malmö on Friday.Hakan Engstrom

Elvis Costello held after two seasons as host of "Spectacle" turning into mere television personality, but since the decade re-established itself as one awake and unpredictable artist. Here we have someone who does what comes to mind, but do so with care and dedication that has never been associated with sudden whim.When he now tours as enmannaorkester he does it with all his extensive song catalog available, but also intend to present the songs from his latest and unpublished projects: the musical "A face in the crowd," based on Budd Schulbergs novel. It was filmed by Elia Kazan in 1957, with the screenplay by the same Schulberg and Andy Griffith in the lead role. If things go well, it may have premiered before the year is out.- As far as I can judge the work flows of good, but the process is completely different than I'm used to and can grasp. Through the years, I have been involved in several similar projects as all of them put down before they got this far. Commissioned in touch and say "we want to do a musical on this theme, it is worth discussing? Is it singable?". I have reached the point that I wrote a few songs and we worked out a few scenes, but then the air has gone out of everything. Though this time we really do progress. Some very good people involved.One of these is the Pulitzer-nominated writer Sarah Ruhl, who along with Costello worked at one of those performances that were shelved: a musical about wher, a radio station in Memphis run by women only. In our region is the chamber opera about Jenny Lind that would have been set up in 2005, more familiar; on behalf of the Royal Copenhagen he composed ten songs, but then got writer's block and never completed the work.In an interview in 2011, I asked him what would get him to come to grips with a larger work again. "Right now everything feels such a total stranger," he said then. But that was then.- I have twenty songs for the musical which I heard different voices singing. That sounds promising. But we need more time to orchestrate and practice. How it works: to test together, the group dissolved, to make improvements and then seen it again. It's a bit like making a movie - all have given functions, but also shared responsibility. There is much we have to agree.So there it does not work when Costello on stage, not with a ribbon and certainly not when he performs solo. Then he has full control. Half of these songs, written for the stage, he has at various times played live.

"I try to find a sensible balance in the show, do not force the new songs on the people, but because they are new, I feel extra strong for them - and it can infect."

- Only as a foretaste. I of course gives a background to the songs, a few remarks to the audience making context. I try to find a sensible balance in the show, do not force the new songs on the people, but because they are new, I feel extra strong for them - and it can infect. A while ago, I played the title song, and the response was incredible. You've heard the saying "It stopped the show"? This made it literally. The crowd applauded and behaved as if it was the evening's final number. I had to clear his throat me and ask: "Do you hear an old song now, or we'll all go home?".He has also received other reactions that have more political undertones. The film "A face in the crowd" is about an arrogant demagogue with bulging ego that manipulate the American people that he also despises.- People have been quick to make connections to the current political situation in America and see the Elia Kazan film that prophecy, but they make a big mistake if they think that this is what we write about. The similarities are coincidental. The short story and the musical is about our timeless ability to create monsters. But, sure: there are at least a couple of monsters in the world right now, and more will they be.Costello draws a parallel to Bertolt Brecht's story of Arturo Ui, written in exile and completed in 1941.

"It can be played out in ancient Greece or the planet Mars and performed as a space opera."

- It is quite clear about Hitler, even if it is told as an American gangster story. But you do not know the Arturo Ui - or for that matter, Hitler - for the story to be valid. It can be played out in ancient Greece or the planet Mars and performed as a space opera. Future or historical time. So it is with our story too. Can we communicate it in a credible and intelligent way so it is valid here and now, but it's about human behavior and social mechanisms rather than the designated individuals.Whoever heard Costello formerly know he often digs deep into the song catalog. With surprising choice, he gives half-forgotten songs a second life. But what a passion he most?- The songs that the audience does not immediately recognize, I would say. Different songs reach their peaks at different times. "The comedians", which I wrote with Roy Orbison in mind, I play now in originalarret. It provides a public response that it never had before. I have also found new ways to present "Everyday I Write The Book" - not like in the release version, not the original sketch, not as the ballad that was the last time I played in Sweden. Such is this show, I tour with very good: This is a forum where I can pull up songs that used to be important to me at a certain stage and a given context, whatever it is, and do something new with and for them . To introduce new songs and bring a reaction of the audience is great, but I'm just as happy if I give any feeling of experiencing something for the first time even though the song is quite old. Circumstances change all the time.Read more: Elvis Costello writes brilliant and enlighteningIn his autobiography get the relationship with his father, the musician Ross MacManus, a large space and emerge as significant for his broad musical taste and ability to absorb music. Costello himself was surprised when he read through his own book before it went to the printers. Even friends have told him that the balance is a little strange: Dad get great recognition, Mom is barely noticeable.- My parents divorced early, so the mother raised me. She heard more of my first attempt to make music, but the few experiences I had with my father stuck out. They are more the stuff of memoirs. My experiences with him on the dance halls showed how music could be transformed from the mundane into something magical in just seconds. I got a glimpse of what the performance is. The occasions were very few - I wrote enough about each one - but since I was in the book related stories to the music and the things I experienced it looks as if the relationship with my father had much greater influence than was the case.Costello's latest album is a team work, where he along with four other singing songwriter did the music for a bunch of texts for Bob Dylan spat out towards the end of the 1960s. Nobel laureate commented on the outcome?- Not that I know of. We met a while ago, during one of his gigs, but then we talked about completely different things.

I plan to make it to the show, flying to Copenhagen and train, any suggestions for record shops to visit? Stilla little early but of course this is the 40th anniversary of MAIT my introduction to Elvis. My 8th "country" to see Elvis and the 78th show, not a stalker its just over a 2 / year average!

supplydavid wrote:I plan to make it to the show, flying to Copenhagen and train, any suggestions for record shops to visit? Stilla little early but of course this is the 40th anniversary of MAIT my introduction to Elvis. My 8th "country" to see Elvis and the 78th show, not a stalker its just over a 2 / year average!

Sound Station on Gammel Kongevej 94 is good for vinyl. There is also Route 66 on Fælledvej 3 but I haven't been there yet.

supplydavid wrote:I plan to make it to the show, flying to Copenhagen and train, any suggestions for record shops to visit? Stilla little early but of course this is the 40th anniversary of MAIT my introduction to Elvis. My 8th "country" to see Elvis and the 78th show, not a stalker its just over a 2 / year average!

set list, Elvis was in good form with quite a few references to the current political situation in the USA including the wall, the Swedish "terrorist attacks" . He signed for the 3 of us who braved the cold after the show.

It is now 40 years ago Elvis Costello emerged as the coolest, smartest, but also the most arrogant soloist on England's pubs and punk scene.Since then he has continued to seek new impressions from the pub rock and power pop of country, folk and soul to classical and jazz.

Right now he works with a musical. But basically there is the young hotheads pop runner with roots in the 50th century and an energy that only the British punk was near. When he arrives in Malmo Live, 39 years after his first concert with The Attractions on Dad's Dancehall, Föreningsgatan 54 in the same city, he has nearly 45 years of history to present at 2.5 hours (if we include his first band , pubrockiga Flip City).Alone on stage with a grand piano, six guitars and a ukulele. Only the different hats and replacement of eyeglasses signals the change of musical identity. It becomes like a cabaret set of Costello's life and a tribute to its roots, mom and dad McManus gave him the chance to naturally slide into pop music world.Daddy Ross McManus was the lead singer of cover- and dance band Joe Loss Orchestra, mother Lillian was director of Selfridges department record at Marble Arch. Already there was a musical treasure to build on. Meanwhile, the ongoing solo tour, Detour, seen as a promotional tour for Costello's autobiography. "Here you have my life."

Early pop classic

A show where we get to meet friends and family who inspired many of his songs. We get to experience Elvis Costello, 62, irascible new wave singer while he suddenly turns into the politically conscious bandstand pennies at the piano. Nothing is impossible for this headstrong artist who never chosen the middle way to success.Already in the introduction, we get early pop classics as Accident will happen, Everyday I write the book, and low-key masterpiece Shipbuiling. Vocal Elvis is in as good a shape as in the late 70s when he spat out the hit-songs and challenged the future of punk and new wave bands to always go a little outside the box.His image was retro and 50's. Think Roy Orbison and Buddy Holly, but grew up in the British pub rock. He pays tribute to his father, who went from the role of Sinatra crooner to the flower power performer and charmed Blackpool's casino guests with songs like "If I had a hammer" as we'll see in a wonderful movie clips through the thick televisions that form the backdrop.

Veronica popular

Most applause got power pop Veronica - still seductive - an excellent version of the wing of the Blood & Hot Sauce, Elvis emerges as a more hard and brutal Randy Newman. When it is time for the encore we are invited to Pump It Up, Elvis with a distorted Fender Jazzmaster, equally explosive and cocky as in the 70s.No man's woman is pure country soul. Alison presented in completely opluggad campfire version without pickups and electricity, now as part of the salon."45" is a tribute to the mother Lillian and the first pop singles like Elvis, then Declan McManus, made with milk. Nick Lowe usually end their concerts with Alison, and thanks for all makes Costello's interpretation of Lowes (What's so funny'bout) Peace, Love and Understanding.The jubilant Malmö audience gets further proof of Costello's feeling for the South American country's soul. Thanks for a super evening, Elvis!

ELVIS COSTELLOWho? Elvis Costello really Declan Patrick McManus, born in 1954 in London, is a British singer, songwriter and guitarist. He is also known for his often change music freely.Where? Live Malmo in MalmoWhat? Four wasps

Since you put me down, it seems i've been very gloomy. You may laugh but pretty girls look right through me.

"English"Elvis Costello· ROCK CONCERT. Malmö Live 24/2.With a giant TV stand on the stage and a newly written autobiography to fish tales and reminiscences of the conditions for a concert evening with Elvis Costello hosted the almost best. He took on the role of entertainers with verve, always with an ace in the sleeve and an ambiguous jokes in the corner of his mouth. Easy to hang out with but not too easy to read.This year's show is a little more multimedia than is customary when a solo singer-songwriter on stage, with images that sometimes commented on the songs and sometimes just bizarre was refreshing. Denssa bonus feature worked well, but when it comes to the most important - the performance of the actual songs - Costello has had better nights. To and from during the over two-hour long show, I sat and longed for an extra musicians, who could free Elvis and let him concentrate on the vocals and their stories.The tour is called "Detour", which in addition to all the possible puns means "detours". When Costello of the first songs attacked the guitar with its small cement hands - his own, self-mocking expression - he turned straight no detours; This was more like he plowed right through the forest. In return, he floundered in the renewal of a couple of songs and stopped the given melodic flow. "Shipbuilding" had to take a beating. And "Everyday I Write The Book" as dub? Fun idea. Next?But it took. With conservative framing utrkristalliserades something very sharp in the "ghost ships", an old single tracks previously most sounded messy. "Beyond Belief" also got a new kind of life in a toned, firm unbroken nervy bottling.At the wing, he accepted the rhythmically moving "Deep dark truthful mirror", a severe played song in which he dropped get into the groove but compensated with temperament and pure will. Yes, there is a reason that Allen Toussaint got to play it in the studio.But here it rallied. The evening's most beautiful moments came in the "Still", with ingenious modulations in a flow that despite the flexibility allowed one to raise eyebrows and smile. Elvis played with finesse. Sang word he did. He followed up with the title song of the musicals he works with, "Face in the crowd." It was a magnificent performance, where the trickster as for the word in the song was understandable. Costello sang with passion, without losing the nuances.Some of the more difficult sung the songs he had otherwise trouble this evening. In "Almost Blue", he took so much water over his head that he must have seen the coral reef. In jazzbluesiga "Poisoned rose" he drove low bulldozer. But he did "Alison" without a microphone, at the edge of the stage, and everything seemed so simple. Direct communication, great emotion, no barriers.

swenglish:Elvis Costello was both nostalgic and forward at the same time. With a very strong låtkatalog in his suitcase, he survived great all on their own.In the background a backdrop in the form of a television model 50. To the left (seen from the audience) a small grand piano, in the middle a single microphone and to the right a blue chair, a floor lamp and a megaphone in the plate. Old music videos from a long and successful career cranked on the television screen before the concert. It would be easy to get the impression that Elvis Costello is out on a nostalgic greatest hits tour.

Those who feared that they would see a framgångsdäst 63-year-old doing weary cover versions of himself must have been pleasantly surprised. Costello makes no statements. He's just out for a little detour - a detour - all on their own.

Admittedly, he talks about his career, his parents and his grandfather and play songs that inspired the events of the past with old black and white pictures in the background. But it is not possible to discern any sign that the creative flow of Costello has begun his.

He makes energetic versions of old classics like "Accidents Will Happen" and "Less Than Zero" (the latter standing inside the TV backdrop). Seated at the piano singing sometimes sincerely, sometimes hot passion. In addition, he offers several new, strong songs from an upcoming musical based on the Elia Kazan film A Face in the Crowd.

The whole concept is worked through but still leaves room for the whims and changes in the setlist. Like when Costello pulls the cable from one of their many delicious guitars and make a completely unamplified version of "Alison" while he was strolling back and forth in front of the edge of the stage and the audience listens attentively.

The louder response he gets on the stories he tells between songs. As to how he was age 17, was fooled by the organist in his father's band and went up on stage with a completely felstämd guitar and therefore had to "mime" guitar playing throughout the show.

The heartbreaking story of his grandfather attracts does not laugh but together with "Jimmie Standing In The Rain" one of the two-hour concert's strongest feature.

MALMØ (Ekstra Bladet): Elvis Costello skives out at the audience through his glasses and asks smiling:

- What say you to hear from my flamenco album?

It is one of the only genres, he has not yet embarked upon, but it is, after all, been to the pop, country, reggae, soul, folk, classical, punk, jazz and rock'n'roll through a long work incentives career.

Friday was however the traveling musikleksikons skills as a songwriter who was at the center when he undressed Malmö flashy concert before a minor Denmark tour.

Through 135 minutes played Costello all 26 tracks added infectious enthusiasm and flint rendering recklessness. It was an impressive solo performance, but not necessarily successful.

Without microphone Englishman's intense involvement has an unfortunate tendency to overblown in undelivered frådeudbrud, to some extent vandalize his songs, but it's on the other side the snarling restlessness that makes Declan Patrick MacManus Elvis II.

Tempers were however kept in check on a beautiful piano version of 'Deep Dark Truthful Mirror', but the 62-year-old veteran took else preferably an arsenal of guitars.

He sang an adorable 'Alison' standing on the very edge of the stage without a microphone, and his distinctive hiss of a vocal had it amazingly well. It has otherwise been out for a little of everything.

Between numbers, he was a witty and relevant raconteur which revolved a lot about his family and growing up in a musical home in Liverpool.

Touching gentle Solo format obviously has its limitations, but through dusty photos on a small, cozy big screen and its wide repertoire managed Costello ably varying events of the evening.

He struck sparks during a very electric 'Pump It Up' and was touching gently through a bursting version of 'Almost Blue'.

Costello received the people's resounding tribute while he wavered curiously around the stage like a drunken bullfighter and then he grabbed else out after one of his six-string and even gave an encore and yet another encore.

There was excellent new songs, even a nice evergreen from Broadway and towards the end he played '(What's So Funny' Bout) Peace, Love and Understanding 'as if he meant it.

Costello did not believe it with flamenco, but if he wanted to, he could certainly learn to master the style of a weekend."